Irene Vonck’s ceramics give the impression of having been formed with powerful brushstrokes, arrested for a moment but retaining the potential for further transformation. In Urubamba she limits her surface colour to a deep brown felt-like pigment, allowing its density to obscure a complex form that evades the eye’s desire for delineation and definition. For the viewer and user this powerful object’s ambiguous function, subtle convex and concave surfaces, and asymmetrical opening force the eye to reinvent its form from different viewing angles. Glancing from some angles, the work is suggestive of a clog-like form and, by implication, the imprinted memory of the movement and posture of the invisible wearer.